Stern Pissarro Gallery E-catalogue

THE GALLERY COLLECTIONI M P R E S S I O N I S T / M O D E R N / C O N T E M P O R A RY

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K1388 Stern Pissarro E Catalogue 09/01/2015 19:55

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K1388 Stern Pissarro E Catalogue 09/01/2015 19:56

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THE GALLERY COLLECTIONI M P R E S S I O N I S T / M O D E R N / C O N T E M P O R A R Y

K1388 Stern Pissarro E Catalogue 09/01/2015 19:56 Page 1

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JOAN MIRÓ (1893 –1983)

Sans TitreCrayon on paper32.1 x 26.4 cm (125⁄ 8 x 103⁄ 8 inches) Dedicated and signed lower rightExecuted in 1958

ProvenanceEstate of Elizabeth (née Allen) Straus, New York and Maine

This work is accompanied by a certificate of authenticity by A.D.O.M,. dated 11 March 2014.


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PAUL JENKINS (1923–2012)

Phenomena A Certain Function HeldAcrylic on canvas100 x 81 cm (393⁄8 x 317⁄8 inches)Signed lower left, Paul JenkinsSigned, titled and dated on the reverse, Paul Jenkins 1989 “Phenomena A Certain Function Held”


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DAMIEN HIRST (b.1965)

SpinMixed media on paperDiameter: 45.8 cm (18 inches)Signed with the Artist’s Stamp and dated 2001 on the reverse Executed 2008


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ZADOK BEN-DAVID (b. 1949)

Broken Expectation (from the series 'Innerscape')Lacquered aluminium29.5 x 29.5 cm (115⁄ 8 x 115⁄ 8 inches) Executed 1998

ProvenanceGalerie Albrecht, MunichCollection Piet and Ida Sanders


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MARINO MARINI (1901–1980)

Cavallo e cavaliere Gouache, pen and Indian ink, brush and grey wash on paper62.2 x 43 cm (241⁄ 2 x 17 inches) Signed and dated 1951

This work is accompanied by a certificate of authenticity from the Committee of the Fondazione Marino Marini.


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AUGUSTE HERBIN (1882 –1960)

CompositionOil on canvas146 x 97 cm (571⁄ 2 x 381⁄ 4 inches) Signed and dated lower right, herbin 37Titled, dated and inscribed on the reverse,Composition 1937 A. Herbin, 32 bis rue Falguière, Paris XVPainted in 1937

ProvenancePrivate collection, Switzerland

ExhibitedBrussels, Palais des Beaux-Arts, Herbin, 1956, no. 20

LiteratureG. Claisse, Herbin: Catalogue raisonné de l’œuvre peint, Paris, 1993, p. 409, no. 732 (illustrated)


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SERGE POLIAKOFF (1900 –1969)

CompositionOil on canvas100 x 81 cm (393⁄ 8 x 317⁄ 8 inches) Signed and dated lower right, Serge Poliakoff 68Painted in 1968

ProvenancePrivate collection, Paris

This work is registered in the archives Serge Poliakoff, under registration Number 968024 and will be included in the 5th volume ofthe Catalogue raisonné being prepared by Mr. Alexis Poliakoff.


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JEAN DUBUFFET (1901–1985)

Fruits de Feu du SolOil and collage on paper, laid on canvas61 x 76.2 cm (24 x 30 inches)Signed and dated lower left, J. Dubuffet 59

ProvenanceGalerie de France, ParisGalerie Knoedler, ParisCollection of Docter et Madame Milton Ratner, ChicagoThe David and Alfred Smart Gallery, ChicagoPrivate Collection, France

ExhibitedChicago, University of Chicago, Smart Gallery; Saint Louis, Missouri,Washington University Gallery, Jean Dubuffet, Forty Years of his Art, 1985(illustrated in exhibition catalogue p. 70)Paris, Galerie de France - Galerie Baudoin-Lebon, Dubuffet, Sols et Terrain,1956-1960, January-Mars 1988 (illustrated in exhibition catalogue p. 68)FRAC Auvergne, Jean Dubuffet, Alexandre Viallat: Les Années d’une Amitié,1953-1971, June-September 1991, no. 5 (illustrated in exhibition catalogue)

LiteratureM. Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule XIV:Célébration du sol II, texturologies, topographies, Lausanne, 1970, no. 181(illustré p. 112)M. Loreau, Jean Dubuffet, Délits, Déportements, lieux du haut jeu, Lausanne,1971, p. 277


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JEAN MICHEL ATLAN (1913 –1960)

Sans TitreOil on canvas81 x 54 cm (455⁄8 x 283⁄4 inches)Signed lower right, Atlan

ProvenancePrivate Collection, Lille

LiteratureJacques Polieri, Atlan, Catalogue raisonné de l’œuvre complet, Paris, 1996, no. 599, p. 332


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PAUL JENKINS (1923–2012)

Phenomena Winter HarthOil and sand on canvas66 x 122 cm (26 x 317⁄8 inches)Signed, titled and dated on the reverse, Paul Jenkins “Phenomena Winter Harth” 1978


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GEORGES BRAQUE (1882–1963)

Pomme et PichetOil on paper laid down on canvas16.9 x 25.8 cm (65⁄ 8 x 101⁄ 8 inches) Signed lower right, G. BraquePainted in 1955

ProvenanceAlexander Iolas, New YorkPierre Schlumberger (acquired from the above)Acquired from the estate of the above in 1988

LiteratureMaeght Éditeur, ed., Catalogue de l’œuvre de Georges Braque : Peintures 1948-1957, Paris, 1959, illustrated pl. 100 (with incorrect medium)


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ZHANG DALI (b. 1963)

AK-47Acrylic on vinyl100 x 80 cm (395⁄ 8 x 311⁄ 2 inches)Signed on the reverseExecuted in 2011

ZHANG DALI (b. 1963)

AK-47Acrylic on vinyl100 x 80 cm (395⁄ 8 x 311⁄ 2 inches)Signed on the reverseExecuted in 2011


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A.R. PENCK (1923–2012)

The Right PointMixed media on canvas96 x 78.2 cm (373⁄8 x 303⁄4 inches)Signed lower left, A.R. PenckTitled and dated on the upper overlay, 1993 The Right Point a.r. penck


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ARMAN (1920 – 2005)

UntitledAcrylic and sliced guitar on canvas laid on board102 x 102 cm (403⁄ 16 x 403⁄ 16 inches) Signed on the turnover edgeExecuted in 2003

ProvenancePrivate Collection, USA

This work is recorded in the Arman Studio Archives, New York under number APA# 8021.03.074. It is accompanied by a certificateof authenticity from Arman Studio Archives.


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JEAN-PAUL RIOPELLE (1923 – 2002)

AntibesOil on canvas119.3 x 91.4 cm (47 x 36 inches)Signed and dated lower right, Riopelle 66Also signed and dated on the reverse

ProvenanceGalerie Maeght, ParisPrivate Collection, FrancePrivate Collection

This work will be included in the forthcoming Jean-Paul Riopelle Catalogue raisonné being prepared by Yseult Riopelle.


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FERNAND LÉGER (1881–1955)

Étude pour Gaz de France Mixed media and gouache on paperSight size: 38.5 x 49 cm (151⁄2 x 191⁄8 inches) Sheet size: 52 x 76 cm (201⁄2 x 293⁄8 inches)Signed with the estate monogram stamp, F.L.

This work is accompanied by a photo certificate from Iris Hansma, Paris, October 4th 2012.

1. A photo certificate from Iris Hansma, Paris, October 4, 20122. Written on the verso of the work is an authenticity statement by the artist's widow, Nadia Léger3. On the reverse of the backing is a third authentication statement from the Fondazione Pagora di Legnano, 1 October 1972


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ANDRÉ MASSON (1896 –1987)

Chute du Rêveur (Suite des Entrevisions)Oil on canvas100 x 73 cm (393⁄ 8 x 283⁄ 4 inches)Signed lower right, MassonSigned, titled and dated 1973 on the reverse

ExhibitedParma, Palazzetto Eucherio Sanvitale, André Masson Opere dal 1925 al 1974, no. 65

This work is accompanied by a certificate of authenticity from Diego Masson on behalf of le Comité André Masson, dated 21 Novembre 2012.


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CompositionOil on canvas130 x 60 cm (511⁄ 4 x 231⁄ 2 inches) Signed lower right, HerbinDated on the stretcher, Février 1930

ProvenanceGalerie de l’Effort Moderne (Léonce Roseberg), ParisKarl Ströher, DarmstadtSotheby's, London, December 8, 1999Acquired at the above sale by a private USA collector

ExhibitedHanover, Kestner Gesellschaft, Auguste Herbin, 1967, no. 66Dusseldorf, Kunsthalle, Auguste Herbin, Rétrospective, 1967-68, no. 63

LiteratureGeneviève Claisse, Herbin, Catalogue raisonné de l’œuvre peint, Paris, 1993, no. 667, illustrated p. 397


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Composition, AbstractionOil on canvas89.1 x 116.1 cm (35 x 453⁄ 4 inches) Signed lower rightPainted in 1925

ProvenanceGalerie L’Effort Moderne (Léonce Rosenberg), ParisGalerie Zlotowski, ParisPrivate Collection, Europe

LiteratureAnatole Jakovski, Auguste Herbin, Paris, 1933, illustrated p. 48René Massat, Auguste Herbin, Paris, 1953, illustrated p. 17Geneviève Claisse, Catalogue raisonné de l’œuvre peint d’Herbin, Lausanne, 1993, no. 570, illustratedp. 379


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MARC CHAGALL (1887–1985)

Le cirque dans le ciel bleu de ParisOil on canvas100 x 73 cm (393⁄ 8 x 283⁄ 4 inches) Signed lower left, Chagall Inscribed on the reversePainted circa 1978-1981

ProvenancePurchased from David McNeil, son of the artist Private collection, Japan

This work is accompanied by a photo-certificate of authenticity from the Comité Chagall, dated 21 July 2014.

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MARC CHAGALL (1887–1985)

Étude pour la Nuit de VenceOil and India ink on canvas-board on plywood28.4 x 34.8 cm (113⁄16 x 1311⁄16 inches)Stamped signature lower left, Marc Chagall Executed circa 1952-56

ProvenanceCollection of the artist Timothy Yarger Fine Art, Beverly Hills, California

This work is accompanied by a photo-certificate of authenticity from the Comité Chagall.


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MAURICE DE VLAMINCK (1856 –1958)

MarineOil on canvas73.5 x 92 cm (251⁄ 2 x 317⁄ 8 inches) Signed

This work is accompanied by a letter of authenticity from the Wildenstein Institute, dated 6 October 2000.


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JULES PASCIN (1885 –1930)

Nu, le Bras LevéOil and pencil on canvas72.4 x 59.1 cm (281⁄ 2 x 231⁄ 4 inches) Signed

LiteratureJules Pascin: Catalogue raisonné by Krohg, Hemin, Perls and Rambert, Éditions Abel Rambert, volume I,illustration No. 236, page 133


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KEES VAN DONGEN (1877–1968)

Portrait de Madame Van Der VeldeOil on canvas126 x 96.5 cm (495⁄ 8 x 38 inches) Signed centre left, van DongenPainted circa 1920-23

ProvenancePrivate CollectionPrivate Collection (acquired from the above in 2001)

LiteratureEdmond des Courières, Van Dongen, Paris, 1925, illustrated p. 24 Kees van Dongen (exhibition catalogue), Fondation Pierre Gianadda, Martigny, 2002, no. 72, illustrated in color p. 122

This work will be included in the forthcoming Catalogue raisonné being prepared by Jacques Chalom des Cordes under the sponsorship of the Wildenstein Institute.


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GUSTAVE LOISEAU (1865 –1935)

Rue de VillageOil on canvas46.4 x 55.2 cm (181⁄ 4 x 213⁄ 4 inches) Signed and dated lower left, G. Loiseau 1909

This work is accompanied by a certificate of authenticity by Didier Imbert and will be included in the forthcoming Catalogue raisonné.


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ALFRED SISLEY (1839 –1899)

Les Moulins du Pont de MoretOil on canvas55 x 67 cm (215⁄ 8 x 263⁄ 8 inches)Signed and dated lower left, Sisley 89

ProvenancePrivate Collection, France

This work is accompanied by a letter of authenticity from the Comité Sisley, dated 26 April 2013. It will be includedin the new edition of the Catalogue raisonné of Alfred Sisley by François Daulte now being prepared by the ComitéSisley at the Galerie Brame et Lorenceau.


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PAUL GAUGUIN (1848 –1903)

Rouen, L’Église Saint-OuenOil on canvas91.5 x 72.8 cm (36 x 285⁄ 8 inches)Signed and dated lower right, P Gauguin 84

Provenance (possibly) Daniel de Monfreid, Paris (1893)French Art Gallery, New York (by 1944)Hugo Moser, New YorkPedro Vallenilla Echeverria, Caracas (by 1957)Wildenstein & Co., Inc., New York (by 1968)Acquired by the family of the present owner in the 1970s

Exhibited(possibly) Paris, Catalogue de la 8ème exposition de peinture, May-June 1886, no. 51Amsterdam, E.J. van Wisselingh & Co., Peintures françaises, 1940, no. 14Milwaukee Art Institute, Masters of Impressionism, October-November 1948, no. 13Caracas, Fundación Eugenio Mendoza, Cien años de pintura moderna, 1840-1940,May 1957, p. 13, no. 19 (illustrated)Caracas, Museo de Bellas Artes, 20 Obras de la colección Pedro Vallenilla Echeverria,1959, p. 9, no. 7London, Wildenstein & Co., Ltd., The French Impressionists and some of theirContemporaries, April-May 1963, pp. 23-24, no. 64 (illustrated)Corpus Christi, Art Museum of South Texas, Ideas for the Collector, February-March1968

Baltimore Museum of Art, From El Greco to Pollock, Early and Late Works by Europeanand American Artists, October-December 1968, pp. 86-87, no. 65 (illustrated, p. 86)Cincinnati Art Museum, The Early Work of Paul Gauguin, Genesis of An Artist, March-April 1971, pp. 7 and 11, no. 6 (illustrated, p. 17, fig. 6)

LiteratureJ. Rewald, ed., Camille Pissarro, Letters to His Son Lucien, New York, 1943, p. 48(illustrated, fig. 8)J. Rewald, The History of Impressionism, New York, 1946, p. 376 (illustrated)G. Diehl, El arte moderno francés en Caracas, Instituto Cultural Venezolano-Francés,1959, p. 19, no. 18 (illustrated)“Notiziario,” Arte antica e moderna, no. 22, April-June 1963, p.XVI (illustrated, fig. 40)A. Bury, “In the Galleries, Lautrec and Gauguin,” Connoisseur, December 1963, p. 258G. Wildenstein, Gauguin, Paris, 1964, vol. I, pp. 41-42, no. 103 (illustrated, p. 41)J. Rewald, The History of Impressionism, New York, 1973, p. 494 (illustrated)D. Wildenstein, Gauguin, Premier itinéraire d'un sauvage, Catalogue de l'œuvre peint(1873-1888), Paris, 2002, vol. I, p. 144, no. 124 (illustrated)

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CAMILLE PISSARRO (1830 –1903)

Route de NeauflesWatercolour and pencil on paper12.7 x 17.8 cm (5 x 7 inches)Signed, inscribed and dated Oct ‘88

This work is accompanied by a certificate of authenticity from Dr. Joachim Pissarro, dated 30 October 2014.


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CAMILLE PISSARRO (1830–1903)

Vachère dans une ClairièreGouache on card25 x 21 cm (97⁄8 x 81⁄ 4 inches)Signed and dated lower left, C. Pissarro 1890


This work will be included in the forthcoming Catalogue critique des pastels et gouaches de CamillePissarro being prepared by Joachim Pissarro and Claire Durand-Ruel-Snollaerts under the sponsorship ofthe Institute Wildenstein (confirmation dated 29th June, 2007).


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PIERRE-AUGUSTE RENOIR (1841–1919)

Femme Nue AssiseOil on canvas36.5 x 29.8 cm (143⁄ 8 x 111⁄ 4 inches) Signed with Estate stamp upper right Painted in 1919

ProvenancePrivate Collection Private Collection (acquired from the above by the present owner in 1993)

LiteratureBernheim-Jeune (ed.), L’Atelier de Pierre-Auguste Renoir, Paris, 1931, vol. II, no. 656, illustrated pl. 205(with incorrect dimensions)

This work is accompanied by a letter from the Wildenstein Institute, dated 5 December 2013. It is to beincluded in the Renoir Catalogue critique being prepared by the Wildenstein Institute from the FrançoisDaulte, Durand-Ruel, Venturi, Vollard and Wildenstein archives.

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CAMILLE PISSARRO (1830–1903)

Entrée du Village d’EragnyOil on canvas46.5 x 38 cm (181⁄ 4 x 15 inches)Signed with Estate stamp lower right, C. P.Painted circa 1884

ProvenanceFrankhauserGalerie Rousso, Paris (c.1948)Acquired in the 1950s by a Private Collection, France Galerie Pierre Levy, Paris Private Collection, France

ExhibitedLondon, Marlborough Fine Art, French Masters of the XIX & XX Siecle, June 1950, no.52

LiteratureJoachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings,2005, no.753, Vol. III, p.501

Ludovic-Rodo Pissarro knew of this painting and it is mentionedin the documents for the supplement to his 1939 Catalogueraisonné of his father’s works.


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Le Ru de Montbuisson, Louveciennes Oil on canvas46 x 55.5 cm (181⁄ 8 x 217⁄ 8 inches)Signed lower right, C. PissarroPainted circa 1869

Provenance Alfred Daber, Paris The Lefevre Gallery (Alex Reid & Lefevre), London (acquired from the above in 1950)Robert Morley, London (acquired from the above in 1951)Annabel Morley, LondonDr. W. Eisenbeiss, Zurich Private Collection, USA

ExhibitedLondon, The Lefevre Gallery (Alex Reid & Lefevre), Géricault to Renoir, 1951, no. 23 London, The Lefevre Gallery (Alex Reid & Lefevre), XIXth and XXth Century FrenchPaintings and Drawings, 1960, no. 29

LiteratureChristopher Lloyd, Pissarro, London, 1992, no. 8 Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique despeintures, vol. II, Paris, 2005, no. 136, illustrated p. 12

Louveciennes was merely seventeen kilometres outside Paris yet, with its idylliclandscape and unobstructed views, it was a favourite destination for Pissarro andseveral of his contemporaries, including Renoir, Monet and Degas. Indeed, Pissarro’searly paintings from Louveciennes are not only among the most important works of hiscareer, they are also among the very first truly Impressionist compositions ever painted.It was in the wake of this period in the artist’s career that critic Armand Silvestre referredto him as “basically the inventor of this painting,” while Paul Cézanne proclaimed morethan thirty years later that Pissarro was in fact “the first Impressionist” (as quoted inRalph E. Shikes & Paula Harper, Pissarro, His Life and Works, 1980, p. 78).

Le Ru de Montbuisson, Louveciennes offers superb evidence of the artist’s earlyImpressionist approach and, in its virtuosic adaptation of subtle tonal relationships, it reveals Pissarro's profound understanding of the effects of light on colour. Meanwhileits painterly surface exemplifies the artist's characteristic brushstroke, which during thisperiod was precise and tightly clipped; even in the dim and atmospheric backdrop of a clouded sky one can observe the premeditated significance of each stroke.


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Le Chou à PontoiseOil on canvas73 x 92 cm (283⁄ 4 x 361⁄ 4 inches)Signed and dated lower right, C. Pissarro 1882

Provenance Isadore Montaignac, Paris (sold: Galerie Georges Petit, Paris, December 3-4, 1917,lot 69)Winkel & Magnussen, Copenhagen (acquired at the above sale and sold: AmericanArts Association, New York, April 6, 1922, lot 52)Durand-Ruel, New York (acquired at the above sale)(possibly) Georges Lecomte, Paris (acquired from the above)Sam Salz, New YorkPaul Shields, New York (acquired from the above in June 1958)Barbara Shields Crowley Estate of Barbara Shields Crowley (Sotheby’s, New York, May 17, 1990, lot 14)Connaught Brown, LondonAcquired from the above in 2009

ExhibitedGeneva, Musée d'Art et d’Histoire, 1918, Tableaux anciens et modernes: collections de M. le Conseiller d’État Hansen à Copenhague, no. 116Neuchâtel, Société des Amis des Arts, 1919, Tableaux provenant des collections de M. le Conseiller d’État Hansen à Copenhague, no. 64Copenhagen, V. Winkel & Magussen, 1919, French Painting, no. 675Paris, Galerie Durand-Ruel, 1928, Tableaux par Camille Pissarro, no. 39

Paris, Musée de l'Orangerie, 1930, Centenaire de la Naissance de Camille Pissarro, no. 56 bis Paris, Galerie Durand-Ruel, Pissarro (1830-1903), 1956, no. 46, illustrated in thecatalogue

LiteratureLudovic-Rodo Pissarro & Lionello Venturi, Camille Pissarro, Son Art - Son Œuvre, vol. 1,Paris, 1939, no. 562, catalogued p. 161; vol. 2, illustrated pl. 116Françoise Cachin, Studies on Camille Pissarro, 1987, p. 96Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique despeintures, Vol. II, Geneva, 2005, no. 675, illustrated in colour p. 452

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Le Village à Travers les ArbresOil on canvas55.2 x 45.6 cm (213⁄ 4 x 18 inches)Signed lower left, C. PissarroPainted circa 1869

Provenance Anon. sale, Paris, 4 May 1914, lot 72Galerie Bernheim-Jeune, Paris (acquired at the above sale) owned in half-share withDurand-Ruel, Paris from 8 May 1914 – 24 April 1915Dikran Khan Kélékian, Paris and New York; His sale [The Widely Known AntiquarianDikran Khan Kélékian]; American Art Association, New York, 30-31 January 1922, lot 129L. Orselli (purchased at the above sale)Gallery of Modern Art, New YorkDurand-Ruel Galleries, New York (purchased from the above, 11 January 1944)George J. Gould (purchased from the above, 3 March 1944); Sotheby's, London, 6 May 1959, lot 139Paul Rosenberg Gallery, New York, inv. no. 5761Lucy Smith Doheny Battson (1893-1993) (purchased from the above, June 1960), by descent to her son William H. Doheny, Sr. (1920-2003), and by descent to his wifeOnnalee Olson Doheny (1919-2013)

ExhibitedBrooklyn, The Brooklyn Museum of Art, Paintings by Modern French Masters representing the Post-Impressionists and their Predecessors, March 1921, no. 175

Paris, Musée des Arts Décoratifs, Cinquante ans de peinture française (1875-1925), 28 May - 12 July 1925, no. 58Amsterdam, Stedelijk Museum, Vincent Van Gogh en zijn tijdgenooten, 6 September-2 November 1930, no. 244

LiteratureA. Alexandre, Collection Kélékian, Tableaux de l’école française moderne, Paris, 1920,pl. 51, p. 51L. Koenig and L. Yaffe, Camille Pissarro, Paris, 1927, pl. IIL-R Pissarro and L. Venturi, Camille Pissarro, Paris, 1939, no. 69G. Jedlicka, Pissarro, Berne, 1950, pl. 3T. Natanson, 'Pissarro', in Artistes d’aujourd’hui et jadis, Lausanne, 1950, pl. 3J. Rewald, Pissarro, Paris, 1960, fig. 15D. Pataky, Pissarro, Budapest, 1972, pl. 10J. Isaacson, Constable, Duranty, Mallarmé, Impressionism, Plein air, and Forgetting inThe Art Bulletin, September 1994, p. 438J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures,vol. II, Paris, 2005, p. 126, no. 134

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Lisière du BoisOil on canvas25.5 x 37 cm (10 x 149⁄ 16 inches)Signed and dated lower left, C. Pissarro 67

ProvenanceSale, Versailles, Hôtel Rameau, 9 June 1960, no. 100, ill. – Bought before 1960 by Simon Barbey, Geneva (Switzerland), who was still the owner in 1976

ExhibitedPavia, Italy, Visconti Castle’s Stables, Pissarro, February - June 2014, Cat. No.7

LiteratureJoachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro critical catalogue of paintings, 2005, No. 113, Vol. II, p.105


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ALFRED SISLEY (1839 –1899)

Cabanes au Bord du LoingOil on canvas46 x 55 cm (181⁄8 x 215⁄8 inches)Signed and dated lower left, Sisley 96

ProvenanceCollection Georges Petit, ParisAnonymous sale, Paris, Hôtel Drouot Paris, March 9, 1935, Lot 56A. Bergaud, Paris (acquired at the previous sale)Private Collection, ParisAnonymous sale, Paris, Hotel Drouot, December 15, 2010, lot 127Private collection (acquired at the previous sale)

Exhibited1897, February, Paris, Galerie Georges Petit, A. Sisley, No.1262009, May, 18-20, Temps Forts de Drouot Montaigne

LiteratureFrançois Daulte, Alfred Sisley, Catalogue raisonné de l’œuvre peint, Paris, 1959, no. 855, ill.

This work is accompanied by a letter of authenticity from the Comité Sisley, dated 8 March 2013. It will be included in the new edition of theCatalogue raisonné of Alfred Sisley by François Daulte now being prepared by the Comité Sisley at the Galerie Brame et Lorenceau.


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Femme AssiseCharcoal on paper 22 x 27 cm (85⁄ 8 x 105⁄ 8 inches)Signed lower right, C. PissarroExecuted circa 1882

ProvenanceNotanda Gallery, SydneyAcquired by the family of the previous owner in Paris c.1950Private Collection, France

This work is accompanied by a letter of authenticity by Dr Joachim Pissarro and will be included in the upcoming Catalogue raisonné of works on paper.


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Entrance to a VillageCharcoal on paper26.7 x 43.2 cm (101⁄ 2 x 17 inches) Stamped with the artist’s initials

ProvenanceMme. Rodo Pissarro (daughter-in-law of Camille Pissarro)Arbit Blatas (acquired from the above)Estate of Artbit BlatasRegina Resnick

Joachim Pissarro has inspected this drawing and believes that thework was drawn by Camille Pissarro circa 1860.

The style of the drawing denotes a date c.1860, but thecomposition with the steep foreshortening of the road anticipatesthose paintings he made at Louveciennes ten years later. The essential elements - the road, the row of trees and the lowhorizon - do, however, occur in paintings by artists of the Barbizonschool (for example Théodore Rousseau) which Pissarro couldhave seen after his arrival in France. The charcoal has been usedwith remarkable deftness throughout.


Le BoulevardGraphite on blue paper20.2 x 33.8 cm (8 x 131⁄ 4 inches) Signed lower left, C.P.

ProvenancePrivate Collection, CA

This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro and will be included in the forthcoming Catalogue raisonne of drawings by Camille Pissarro.


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Study of FiguresWatercolour, grey wash and pencil on paper25.6 x 17.3 cm (101⁄ 8 x 63⁄ 4 inches) Signed with the artist’s initials, lower rightExecuted in the 1880s

This work is accompanied by a certificate of authenticity from Dr. Joachim Pissarro, dated 30 October 2014.


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MAURICE UTRILLO (1883 –1955)

Château de Nangis (Seine-et-Marne)Gouache on paper34 x 50 cm (133⁄8 x 195⁄8 inches)Signed lower right, Maurice, Utrillo, V,Inscribed lower left, Château de Nangis (Seine-et-Marne)Painted between 1932 and 1934

ProvenanceMax Moos, Genève1935, Genève, Galerie Moos, 23 mars, lot 151, repr. N.B.

This work is accompanied by a certificate of authenticity from Jean Fabris and Cédric Paillier, dated 17 January 2014.


48

HENRI MANGUIN (1874–1949)

Le Barrage de SuresnesOil on canvas60 x 73 cm (235⁄ 8 x 283⁄ 4 inches)Signed lower left, ManguinPainted in 1939

ProvenanceAcquired from the Artist in 1939 by Léon Madlyn and has remained in the family since then

LiteratureLucile and Claude Manguin, Marie-Caroline Sainsaulieu, Henri Manguin, Catalogue raisonné de l’œuvre peint, éd.Ides et Calendes, Neuchâtel 1980, no. 1102, illustrated. p. 346

This work is accompanied by a certificate of authenticity from Lucile Martinas Manguin, dated 27 January 1972.


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HENRY MORET (1856 –1913)

Ramasseuses de Goémon à Möelan, BretagneOil on canvas65.4 x 92.1 cm (253⁄ 4 x 361⁄ 4 inches) Signed and dated lower right, Henry Moret 1900

ProvenanceDurand-Ruel Gallery, New York (no. 2589)Frank Thompson, Philadelphia Christie's Sale London, 22nd June 2005, lot 00105Private Collection, California

LiteraturePennsylvania, The Pennsylvania Academy of the Fine Arts, Loan Exhibition of Paintings and Drawings of the Modern French School, 1920


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ALBERT LEBOURG (1849–1928)

Bord de Seine à la BouilleOil on canvas46 x 85 cm (181⁄ 8 x 331⁄ 2 inches)Signed and inscribed lower left, a. Lebourg la Bouille


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ALBERT GLEIZES (1881–1953)

Le Petit Sentier, 1907Oil on canvas 55 x 46 cm (215⁄ 8 x 181⁄ 8 inches) Signed and dated lower right, Albert Gleizes 07

LiteratureAlbert Gleizes Catalogue raisonné, 1998, Volume 1, no. 91, p.51


52

MAXIMIL IEN LUCE (1858 –1941)

Printemps Saint-Ay de la Loire, circa 1910Oil on canvas64.8 x 50.5 cm (251⁄ 2 x 197⁄ 8 inches)Signed lower right, LuceInscribed as titled on the stretcher

ProvenanceHammer Galleries, New York Private collection, New York

ExhibitedParis, Galerie Dru, M. Luce, Apr. 11-30, 1921, no. 36 (as La Loire a Saint-Ay), possibly

LiteratureJean Bouin-Luce, Denise Bazetoux, Maximilien Luce: Catalogue raisonné de L'œuvre peint, Paris, 1995,vol. 3, p. 177, no. 745, illustrated


53

ARMAND GUILLAUMIN (1841–1927)

La Roche de l’Écho, Creuse, 1895Oil on canvas73 x 92 cm (281⁄2 x 361⁄4 inches)Signed lower right, Guillaumin

ProvenancePrivate CollectionArthur Tooth & Sons Ltd, London Christie's, Sydney, 3 October 1973, lot 454, illustrated Private Collection, Sydney

ExhibitedAustralian Historical and Contemporary Paintings, Drawings and Sculpture

LiteratureEdouard des Couneres, Armand Guillaumin, Paris 1924, p.61 Georges Senet et Dominique Fabiani, Armand Guillaumin: Catalogue raisonné del’œuvre peint, 1971, no 346

This work is accompanied by a letter of authenticity from Stéphanie Chardeau-Botteri,from the Comité Guillaumin, dated 10 May 2011. It will be included in the secondvolume of the Catalogue raisonné currently in preparation by the Comité Guillaumin.


54

MAX LIEBERMANN (1847 –1935)

Gastzimmer-Dekorentwurf zum IV. Akt von Gerhart Hauptmanns Drama Gabriel Schillings FluchtPastel and pencil on paper laid down on board 31.3 x 49.8 cm (123⁄ 8 x 19 5⁄ 8 inches)Signed lower right, M LiebermannDrawn in 1912

Provenance Max Liebermann, Berlin (1914)Anon. sale, Berlin, Paul Cassirer and Hugo Helbing, 17 May 1927, lot 85Mr. and Mrs. Ernst Eichenwald, Berlin and New York (circa 1935)Dr. Heinz F. Eichenwald Collection

ExhibitedKunsthalle Mannheim, Moderne Theaterkunst. 13. Ausstellung des Freien Bundes,January-February 1913

LiteratureE. Hancke, Max Liebermann, Sein Leben und seine Werke, Berlin, 1914, p. 546M. Eberle, Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien, Munich,1996, vol.2, cat.no. 1912/9H. Rischbieter, ed., Bühne und bildende Kunst im XX Jahrhundert, Maler und Bildauerarbeiten für das Theater, Hannover, 1968, p.287

This work is accompanied by a letter of authenticity from Drs. Margaret Nouwen dated 5 March 2014.


55

GINO SEVERINI (1833 –1966)

Nature Morte aux Jolies DentellesOil on board33.3 x 41 cm (131⁄8 x 161⁄8 inches) Signed lower right, G.SeveriniInscribed on the reverse, Meudon 8Painted in 1946

ProvenanceCollection Bourdeillette (Monsieur Bourdeillette was a French diplomat posted to Rome)

LiteratureGino Severini Catalogue raisonné by Daniela Ronti, Arnoldo Mondadori Editore, Editions Philippe Daverio, Milan, 1988, illustratedNo. 30, page 622

Madame Severini, the artist’s daughter, has confirmed the authenticity of this work and has indicated that Severini and his familylived at Meudon from October 1946 until October 1952.


56

HENRI HAYDEN (1883– 1970)

Vue d’un VillageOil on canvas65 x 92 cm (25 x 36 inches)Signed and dated lower left, Hayden 1921Inscribed on the reverse, Hayden V-1921

Provenance E.J. van Wisseling and Co., AmsterdamLucienne Rosenberg, ParisPrivate Collection, ParisPrivate Collection, California

This work is accompanied by a certificate of authenticity from Pierre Célice dated 29 July 2011.


57

HENRI HAYDEN (1883–1970)

Nature Morte à la Bouteille de Bass et à l’As de TrèfleOil on canvas54 x 65 cm (211⁄ 4 x 25 5⁄8 inches)Signed lower right, HaydenPainted in 1919

ProvenanceHirschl & Adler, New YorkRoland, Browse & Delbanco, London (acquired from the above in 1962)Acquired from the above by the present owner in 1968

This work is accompanied by a certificate of authenticity from Pierre Ce lice dated 4th May 2011.

It will be included in the forthcoming Hayden Catalogue raisonne being prepared by Pierre Ce lice.


58

EDGAR DEGAS (1830 –1903)

Femme Nue AssiseCharcoal on paper61 x 42 cm (24 x 161⁄ 2 inches) Stamped signature lower left, Degas

ProvenanceThe artist’s studio sale, part IIIGalerie Georges Petit, Paris, 7-9 April 1919, lot 274Edmond Céria (acquired at the above sale)

LiteratureP.A. Lemoisne, Degas et son œuvre, Paris, 1946, vol. III, p. 698, no. 1200A. Wofsy, Degas’s Atelier at Auction, Paintings, Pastels and Drawings Sales III and IV – 1919, San Francisco, 1989, no. 274 (illustrated p. 206)

This work is accompanied by a letter of authenticity by Brame & Laurenceau, dated 28 June 2011.


59

PIERRE BONNARD (1867–1947)

Baigneuse deboutCrayon on paper39 x 28.5 cm (151⁄ 4 x 111⁄ 4 inches) Signed lower right, Bonnard

ProvenanceMarlborough Fine Art, LondonCollection of Denys Sutton, LondonPrivate Collection, Atlanta

The authenticity of this work has been confirmed by M. Guy-Patrice and Michel Dauberville.


60


Country LandscapePencil on paper12.7 x 21.2 cm (5 x 81⁄ 4 inches) Signed with Estate stamp lower right, C.P. Executed in Pontoise in the mid-1870s

ProvenanceArbit BlatasEstate of Arbit BlatasRegina ResnikPrivate Collection, Florida

This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro dated 12 April 2005.


Paysage avec Deux PersonnagesInk on paper16.2 x 21.6 cm (63⁄ 8 x 81⁄ 2 inches) Signed with Estate stamp, C.P.Executed between 1855 and 1860

ProvenanceEstate of the artistSchoneman Galleries, Inc., New YorkEstate of Margo Schoneman

ExhibitedPissarro Drawings: From the Collection of Mr. and Mrs. F. L.Schoneman, Norton Gallery & School of Art, West Palm Beach,Florida, December 5, 1976 to January 5, 1977

This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro dated 14 January 2014.


61


Paysage à VernonPencil and wax crayon on paper31.1 x 23,6 cm (121⁄ 4 x 91⁄ 4 inches) Signed with Estate stamp lower right, PBExecuted circa 1920

ProvenanceFrom the estate of the artistPrivate collection, Atlanta

LiteratureLiteratureG. Genty and P. Vernon, Bonnard inédits, Paris, 2003, no. 454, p. 170

The authenticity of this work has been confirmed by M. Guy-Patrice Dauberville.


Le Parc, Étude pour un ÉventailInk, India ink and pencil on paper25.1 x 34 cm (97⁄ 8 x 133⁄ 8 inches) Signed with Estate stamp in centre, PBExecuted circa 1891-1892

ProvenanceCollection of Lew and Edie Wasserman, Los AngelesPrivate collection, Atlanta

ExhibitedMilan, Palazzo della permanenete, bale, KunsthallePierre Bonnard, avril - juillet 1955, no.56

The authenticity of this work has been confirmed by M. Guy-Patrice and Michel Dauberville.


62

GEORGES MANZANA PISSARRO (1871–1961)

Le Pont de Saint-CloudOil on canvas64.8 x 59.4 cm (251⁄ 2 x 233⁄ 8 inches) Signed lower right, G.Manzana

ProvenanceKaplan Gallery, LondonTrosby Galleries, Palm BeachPrivate Collection (acquired from the above)


63

GEORGES MANZANA PISSARRO (1871–1961)

Un Paysage PastoralOil on board54.5 x 65.5 cm (211⁄ 2 x 253⁄ 4 inches) Signed and dated lower right, G. Manzana 1901



64

LUDOVIC-RODO PISSARRO (1878 –1952)

Cabaret Dancers Oil on panel 46 x 55 cm (181⁄ 8 x 215⁄ 8 inches) Signed lower left, Ludovic RodoPainted circa 1906



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